‘AUN’ - subtitled ‘The beginning and the end of all things’ - is, we are told in the CD’s booklet, ‘the story of mankind’s quest for the future, his desire to create the tomorrow, his fear and loathing for the apocalypse’. Its basis are the threads that run through Claude Levi-Strauss’ essays, and a focus on the dichotomy that exists between the man-made world and nature.
‘Aun’ sees the spectacularly prolific Christian Fennesz working to his strengths, and at the same time doing things slightly differently from his other recent releases. Quite remarkably, his instrumental compositions convey more of the film’s themes than one would expect possible, yet without recourse to volume or overt drama. Fennsesz has long demonstrated a sense of subtlety, and large sections of the ‘AUN’ soundtrack are very quiet indeed. A delicate piano hangs sparse notes in a rarefied air. A plucked acoustic guitar adds to the organic, human feel of the music. Passages of light are countered by passages of dark, foreboding drones scaling outwards and circling inwards. Moods turn, atmospheres change, yet the pieces segue together seamlessly. Measured, understated and fragile, this sounds like a soundtrack, in the best possible way. But even without the images the music was composed to accompany, it can provide a real-time soundtrack to an individual’s listening experience.
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Christian Fennesz Online
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